Sunday, June 25, 2017

'Elevated Heartbeat', 2017 by Winslow Laroche

[stickers on ceramic]


'Son of Cush', 2016 by Deana Lawson

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'Untitled', 2017 by Bosco Sodi

[mixed media on canvas; 59.94 x 72.9 cm]

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'Tightrope 5.1', 2009-14 by Elias Sime

[reclaimed electrical wires on panel]

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'Style and Finesse', 2010 by Jamel Shabazz

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Lynette Yiadom-Boakye

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Moses Olemogeng Maaramele Gaeqhad

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'No. 3', 2017 by Brianna Rose Brooks

[oil, acrylic, gold leaf, gel medium and glitter on canvas; 30 x 40 inches]

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Hilina Abebe

2016

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'The Raven', 2016 by Toyin Ojih Odutola

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'Yelling Blue', 2017 by Stanley Whitney

[oil on linen]

'Untitled', 2017 by Kayode Ojo

[dark chocolate ABC Home sofa/couch, women silver sequins long sleeves formal evening prom maxi cocktail dress; 91 x 30 x 40 inches]

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'D.O.E.' Cheyenne Julien & Kevin Evans @ Freeman Gallery [NYC/USA]

I. Cheyenne Julien, Martin, 2017 [oil on canvas; 8 x 10 inches]
II. Cheyenne Julien, The Nanny, 2017 [acrylic on canvas; 10 x 12 inches]
III. Cheyenne Julien, Brandon, 2017 [oil on canvas; 16 x 20 inches]
IV. Cheyenne Julien, Shook, 2017 [acrylic and oil on canvas; 9 x 12 inches]
V. Cheyenne Julien, Untitled(Nike Boy), 2017 [acrylic on canvas; 9 x 12 inches]
VI. Cheyenne Julien, Chacha Beach, 2017 [acrylic on paper; 22 x 30 inches]
VII. Cheyenne Julien, Untitled (Girl with Flower), 2017 [oil on canvas; 8 x 10 inches]
VIII. Cheyenne Julien, The Painter, 2017 [ink and charcoal on paper; 22 x 30 inches]
IX. Kevin Evans, fuschia sweets, 2017 [mixed media; 24 x 15 x 4 inches]
X. Kevin Evans, microminimany, 2017 [mixed media; 9 x 20 x 45 inches]
XI. Kevin Evans, baby German shepherd, 2015 [mixed media; 22 x 5 x 29 inches]
XII. Kevin Evans, house party at Donatella’s, 2016 [mixed media; 6 x 10 x 49 inches]
XIII. Kevin Evans, nickelby, 2017 [mixed media; 24 x 15 x 4 inches]
XIV. Kevin Evans, save for ever, 2017 [mixed media; 8 x 11 inches]










‘Lickshot’ Janiva Ellis @ 47 Canal [NYC/USA]

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'Open spaces', 2016 by Sunita Maharjan

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'Jhaap', 2017 by S.C. Suman

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'Enjoyable relationship', 2017 by Guan Xiao

[brass, acrylic paint, rim, artificial flower ring; 120 x 70 x 60 cm, 23 x 80 x 40 cm]

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Frédéric Bruly Bouabré & Serge Attukwei Clottey @ Burning in Water [NYC/USA]

I. Frédéric Bruly Bouabré, Untitled (La Sémantique des Races), 2000 [ballpoint and colored pencils on cardstock; 7 1/2 × 6 in, 19.1 × 15.2 cm]
II. Serge Attukwei Clottey, The Night Before, 2016 [plastics, wire and oil paint; 41 × 26 in, 104.1 × 66 cm]
III. Serge Attukwei Clottey, Outdooring day, 2016, [plastics, wire and oil paint; 22 × 22 in, 55.9 × 55.9 cm]





'Thin Places' @ Smart Objects Landers [LANDERS/USA]

I. Alberto Cuadros, No Dialogue ever, except beep-beep, 2017 [gouache and paper on canvas; 9 x 12 inches]
II. Keely Nelson-Rivers, If You Know, You Know, 2016 [acrylic and pastel on canvas; 10 x 8 inches]
III. Tania J. Alvarez, The Book, 2016 [acrylic on fabric paper; 5 x 7 inches]
IV. Cheyenne Julien, Upon Awakening, 2017 [oil on canvas; 60 x 52 inches]
V. Tania J. Alvarez, Godliness is Cleanliness, 2016 [acrylic, marker, plastic; 4 x 10 inches]
VI. Paul Rouphail, Landscape with a Tree on Fire, 2017 [acrylic on linen; 32 x 46]
VII. Brandon Drew Holmes, Dove + Jasmine: If Aliens visit me while I’m in the desert, Ima tell em about white people, 2017 [ink, graphite on paper; 8.5 x 11 inches]
VIII. Winslow Laroche, I Do My Own Stunts, 2017 [digital print, plastic sleeve, desert rock; 8.5 x 11 inches]
IX. Brandon Drew Holmes, La Porscha: The Green Book was a travel manual to help aid Black ppl to travel safely Across North America, 2017, Ink, graphite on paper, 8.5 x 11 inches; Dove + Jasmine: If Aliens visit me while I’m in the desert, Ima tell em about white people, 2017 [ink, graphite on paper; 8.5 x 11 inches]

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'Nude', 2017 by Latifa Echakhch

[concrete, acrylic paint; 200 x 150 x 3 cm]

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Friday, June 16, 2017

'DOE Closing Party / BBQ' @ Freeman Gallery [NYC/USA]

Join American Medium and Freeman Gallery in celebrating the closing of D.O.E., an exhibition of works by Kevin Evans and Cheyenne Julien.

DJ sets by:
Antwan Duncan
Gemini Holiday
Parker Bright

$5 at the door

LINK


'EMOtional' @ Human Resources [LOS ANGELES/USA]

EMOtional

stand-up by,
MICAHjames

songs by
SARAHgail
TYLERholmes
EDDINGTONagain

hosted along with
a recital by,
BDH

HUMANresources
JUNE 18th
7PMsharp
$5


Heehee haha boohoo giggle giggle gaggle gaggle LOL OH LORD WHY US WHY US GD OMFG LMFAO OOOOO00000ooooh WEE Oh Me! Ha! HA! Bwahahaha...
We laugh to keep from cryin and we cryin cause we can't keep from dyin and we laugh from all our tryin even though the tears they a keep on lyin cause you see our smiles and think we buyin into your bullshit.

*laughs out loud while dying on the inside*

Last night to experience EJ Hill's installation "A Subsequent Offering"
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Picture Newspaper Photo-Bookmaking Workshop @ The Camera Club of New York [NYC/USA]

Facilitated by Marcelo Gabriel Yáñez of Picture Newspaper
Assisted by Devin N. Morris

Workshop 1: 2-3pm
Workshop 2: 4-5pm

In this workshop we will be making small zines with anonymous vernacular images picked from a bin. The images will be repurposed, manipulated, and placed under new context. The point is to think of the image in terms of its movement and the way sequencing and chance shift meaning beyond its original towards a new. Looking and working with found images is an exercise into our own desires and imagination when interpreting a photograph. Transcending time and space, the anonymous photograph provides a portal into past and future lives and narratives — a glimpse into spaces and gestures personal, intimate, and performative in a way where the photographic is inseparable from the social.

Marcelo Gabriel Yáñez is a rising senior at New York University. His Research focuses on archives, ephemerality, photograhy, and mysticism.

Newspaper was started in 1969 by Steve Lawrence, and it ran for nine issues till 1971. With prototypes developing around 1968, it was a small press publication that spotlighted work by figures of the Downtown NY scene. A pivotal publication for the time, Newspaper was a product of the conceptual art movement and an emphasis on media systems and subversion. In 1970 it was part of the Information show at MoMA -- widely acknowledged as the first large survey on conceptual art. Over the years and after the AIDS crisis, Newspaper was lost and Steve Lawrence's work faded into obscurity. Not much information on Newspaper exists, and as an art historian I'm currently working to contextualize the publication in history under the advisement of Shelley Rice at New York University.

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